Both Lil Wayne and Logic are historians of a sort. (On “Tha Carter V,” he does a version of this on “Uproar,” a revision of G. Lil Wayne’s most exceptional time was his mid-2000s mixtape era, when he stole songs from others and made them permanently his own. But “YSIV” marks the first time the fit isn’t unduly awkward. This isn’t new for Logic - he has consistently attempted to insert himself into the traditions he lionizes. Like Lil Wayne, he is given to complex rhyme, but there has generally been an air of studiousness around him, like a mathematician showing his work.
LOGIC MIXTAPES TORRENT SERIES
“YSIV” - the conclusion of his Young Sinatra series of mixtapes - is his most confident and accomplished release to date, shaking off some of the awkwardness that has long peppered his music. This is his second release this year “Bobby Tarantino II,” named for another alter ego, debuted atop the Billboard album chart in March. The line between mixtapes and proper albums was dissolved years ago, but no rapper has made mixtapes part of a commercial strategy as effectively as Logic. But as a hip-hop quasi-pastor, he’s sui generis. He is a stylistic inheritor of the 1990s, with stops at J.
When Lil Wayne was at his commercial and creative peak a decade ago, he liked to refer to himself as an alien, but the most vivid takeaway from this album is of Lil Wayne the human being.īy contrast, Logic has built his whole career on his humanity, his ordinariness, his relatability.
Her words are hesitant and deeply felt, and they feel almost like a eulogy. He’s fragile and small, someone she never fully could take care of, but who found a way to take care of himself.
To her, Lil Wayne isn’t a superhero or superstar. The most effective throughline on this album isn’t actually Lil Wayne - it’s his mother, Jacida Carter, who appears in several spoken interludes. When Lil Wayne’s “Tha Carter III” debuted at the top of the Billboard album chart a decade ago, it was a victory for his unorthodox path through the mixtape circuit, and still something of an outlier in terms of hip-hop’s success in the mainstream.īut now those things are utterly normal, a circumstance embodied by no rapper more so than Logic, who has become one of hip-hop’s most commercially successful artists by charting a path similar to Lil Wayne’s while making music that’s loyal to different traditions. But then contractual battles with his label turned it into something more - a rallying cry for artist independence, verging on the apocryphal.Īll the while, the genre was changing. When he began speaking about “Tha Carter V” several years ago, he described it as his final solo album. A star since he was a teenager, he has been releasing music for two decades. Lil Wayne, now 36 years old, has come to feel like an elder, his innovations so baked into the genre as to be nigh invisible. Cole, a modern moralist reinvigorating the modes of two decades ago. For others, it’s Future and Young Thug - themselves children of Lil Wayne - and their distended wails. For some, Drake is the paterfamilias, with his pan-regional pastiche pop-rap. In the four or so years since Lil Wayne’s “Tha Carter V” was first intended for release, hip-hop - which was for a time gleefully remaking itself in Lil Wayne’s image - found new tributaries, new role models.
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